Spring 2019, Traditions & Beliefs Newsletter

Center, Inc. Traditions & Beliefs

RASHAD

The

Spring 2019 – Jazz Appreciation Month Issue

Spring 2019 – Jazz Appreciation Month Issue

What’s your story?

Regennia N. Williams, PhD

C OMING S OON TO A V ENUE N EAR Y OU ! *S TAY T UNED FOR M ORE D ETAILS .

MY STORY, MY SONG, AND MY SOURCES You are cordially invited to join me in promoting the study and teaching of local history and culture throughout the global community.

“My humanity is bound up in yours, for we can only be human together!”

--Archbishop Desmond Tutu

Traditions & Beliefs The Traditions & Beliefs Newsletter Spring 2019 / Jazz Appreciation Month, Volume 13, Issue 2 Published quarterly by the Center for the Study of Religion and Spirituality in the History of Africa and the Diaspora The RASHAD Center, Inc. Regennia N. Williams, PhD, Founder, Director, and Editor c/o Maryland Resident Agent LLC 5000 Thayer Center Suite C

Spring 2019 – Jazz Appreciation Month Issue 3

TABLE OF CONTENTS The Meaning of Sankofa

4

Editor’s Introduction

5

RASHAD, Ellington, and the DMV

6-7

At Home in the Global Community

8-9

“Call for Submissions” for The Journal of Traditions & Beliefs

10

JTB’s Readership and a Special Invitation

11

Looking Back, Moving Forward, and Keeping in Touch

12

Spring 2019 – Jazz Appreciation Month Issue 4

Sankofa Nathaniel Rhodes, Photographer

According to the website for Sankofa.org. “The ‘Sankofa,’ a metaphorical symbol used by the Akan people of Ghana, is generally depicted as a bird with its head turned backward taking an egg from its back. It expresses the importance of reaching back to knowledge gained in the past and bringing it into the present in order to make positive progress.”

Spring 2019 – Jazz Appreciation Month Issue 5

My Story, My Song, and My Sources Regennia N. Williams, PhD While I am not formally affiliated with the Sankofa organization that artist-activist Harry Belafonte founded, I agree with its supporters when they suggest that people can use the lessons of the past, the power of the arts, and the courage of their Sankofa convictions to bring about positive change in their communities. I had decided to do just that when, on April 8, 2019, I announced that the University of the District of Columbia would be the first stop on my international local history book tour for Cleveland, Ohio (Arcadia, 2002) and Washington, DC, Jazz (Arcadia, 2019).

A number of factors prompted my announcement. First and foremost, as a practicing historian, I had spent almost three years collecting and reviewing manuscript materials and oral history narratives of musicians and music lovers in the Metropolitan DC Area. I had, not, however, shared even brief excerpts from the story of my own educational journey and the World War II Era song (“Come Sunday”) that had influenced several of my jazzrelated research papers and conference presentations—and program series in the USA and France. I felt the need to address that omission and, in the process, inspire students to document, tell, and write their own stories.

While addressing that UDC audience in April, I looked back in Sankofa-like fashion over more than three decades of my adult life and then shared an excerpt from my first-person narrative. I titled my presentation “My Story, My Song, and My Sources,” in recognition of the fact that Americans were celebrating National Library Week, and libraries continue to be among the most important repositories for many of the primary and secondary sources that inform my research. This issue of our program newsletter contains information about some of those library sources.

Interestingly enough, people in Washington, DC and other parts of the world were also celebrating the musical genius of pianist, composer, and bandleader Abdullah Ibrahim during April of 2019. A native of Cape Town, South Africa, he is one of the four recipients of the National Endowment for the Arts’ 2019 Jazz Masters Fellowship and someone who, like me, has a life story that has been indelibly shaped by religion, spirituality, and sacred music.

Abdullah Ibrahim, who was born Adolph Johannes Brand in 1934, and the African Methodist Episcopal Church played a major role in his early life.

According to Ibrahim, one of his grandmothers was a founding member of the AME Church in Cape Town, his mother and grandmothers were all active in the musical activities of the church, and one of his grandmothers sent him to his first piano teacher when he was four years old.

Most of my musical roots can be traced to the Missionary Baptist Church community in Cleveland. Both of my parents sang in our church choir, and my siblings and I comprise the Williams Family Gospel Singers.

As young adults, both Ibrahim and I were drawn to the music of Duke Ellington. Although we are worlds apart as far as other aspects of our life stories are concerned, Prof. Ibrahim’s April 2019 visit to Washington, DC helped provide part of the inspiration for the 2019-2020 theme for RASHAD’s Journal of Traditions & Belief (JTB), “Jazz, Jobs, and Justice: From the American South to South Africa and Beyond, c. 1960-Present.”

Please see page 10 of this newsletter for JTB’s Call for Submissions, and consider preparing and submitting your manuscript for possible publication in what promises to be an important new library resource for students of jazz, history, spirituality, and social justice.

That’s part of my story! What’s yours? --RNW

“Vivamus porta est sed est.”

The Williams Family in 1960. That’s me on the left holding my father’s hand.

The Williams Family Gospel Singers, c. 1995.

For more information on the narrative tradition in history or other topics, please consult the catalog of your favorite library!

Spring 2019 – Jazz Appreciation Month Issue 6

Almost as soon as I relocated from Ohio to the DMV in 2016, I began to lay the foundation for the RASHAD Center, Inc. Established on April 12, 2016, RASHAD is an independent non-profit organization that supports research and service activities in the arts and humanities. Early DMV projects continued to focus on Duke Ellington’s “Sacred Jazz,” a theme that I had also explored in a 2011 lecture for C-SPAN’s “American History TV (top photo). Vocalist Queen Esther Marrow, who performed “Come Sunday” and other works as part of Ellington’s 1965 Sacred Concert, shared her story with me in May 2016, during the first “Praying Grounds” interview in the DMV. She is pictured above in her Newport News, Virginia home with videographer William Leonard. --RNW

Spring 2019 – Jazz Appreciation Month Issue 7

From Grace Cathedral to Trinity Cathedral and Beyond! !

Featuring Ellington’s Sacred Jazz, Gospel, and More!

!

A Project of “Come Sunday” @ 70: Duke Ellington’s Sacred Jazz in World History and Culture c. 1943 – 2013

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!

Two “Harvest Time” Concerts!

Saturday, September 28, 2013 Pre-Concert Reception 5:25-5:55 p.m.

Performance, 6-7:30 p.m.

Featuring the Spiritual Gifts Choir, Drene Ivy, Dr. Sharon Brown-Cheston, and Mariama Whyte Trinity Cathedral 2230 Euclid Ave Cleveland, OH 44115 *Freewill Offering !

Sunday, September 29, 2013 Pre-Concert Reception, 2-2:50 p.m.

Performance, 3-4:30 p.m.

Featuring the Ivy-Cheston Piano Duo First Unitarian Church 21600 Shaker Blvd (at Belvoir Circle) Shaker Heights, OH 44122 *Freewill Offering For more information, contact: Dr. Regennia N. Williams at r.williams@csuohio.edu or (216) 523-7182.

You may also visit www.ClevelandMemory.org/pray/.

Made possible, in part, with support from the Multicultural Action Committee of the First Unitarian Church and the East View United Church of Christ and the following CSU Offices and Departments: Vice President for Institutional Diversity, CLASS Dean’s Office, Department of History, the Michael Schwartz Library, and the Ohio Humanities Council, a state affiliate of the National Endowment for the Humanities.

!

Duke Ellington at Cleveland’s Public Auditorium (1960). James Gayle, Photographer. Courtesy CSU Library Special Collections. !

Thanks to Dee Richardson (top photo), who helped me find my way through part of the Smithsonian’s Ellington Collection as the 70th anniversary of Duke’s 1943 Carnegie Hall debut approached in 2013, saxophonist Ron Holloway (left in the cover image for !

Washington, DC, Jazz), and so many others, I discovered that there was no shortage of jazz allies and artists in the DMV. --RNW

Spring 2019 – Jazz Appreciation Month Issue 8

At Home in a Global Community of Scholars, Artists, and Students!

In many ways, life since 2007--the year in which we launched the Initiative for the Study of Religion and Spirituality in the History of Africa and the Diaspora (RASHAD), has been a whirlwind of activities involving teaching, research, writing, travel, and service –to the community, various institutions and organizations, and the field of history.

My journey has truly been one for the books! (No pun intended.)

This two-page photo spread is a personal tribute to some of the academic colleagues, students, and business associates that I have met since 2007, including (from the top, left to right) my editors and title managers at Arcadia Publishing, Dr. Deborah Willis, author of Posing Beauty (above), the preface for my co-authored book, Through the Lens of Allen E. Cole— which she is holding in the photo on the right) and so many other works; Howard University’s Dr. Sais Kamalidiin (pictured with me on the second row), and several gifted and incredibly talented alums of Howard’s Afro Blue vocal jazz ensemble.

Collectively, the published works of the all-star group of writers shown below proved especially useful during the research and writing of Washington, DC, Jazz. Pictured left to right are Dr. W.E.B. Du Bois, Dr. Eileen Southern, Dr. Lawrence Levine, Dr. Portia Maultsby, Mr. Stanley Crouch, Dr. Maurice Jackson, and Dr. Blair Ruble. --RNW

Spring 2019 – Jazz Appreciation Month Issue 9

CSU Student Delegates to the UFS Global Leadership Summit in South Africa, 2012.

With Two of My Award-Winning UDC-CC Students in 2017.

With MMC Students in Macau, China, 2018.

OAU History Students in 2010.

With OAU Faculty Colleagues in Nigeria, 2010.

With the NMAAHC’s Dr. Lonnie Bunch and MC Students in 2018.

In Beijing with Peking Opera Performers, 2008.

With South African Middle School Student in 2012.

In Rouen, France in 2012.

In Hong Kong in 2018.

Whether at home in the USA or abroad, students, artists, and colleagues have served as vital sources of inspiration. For this reason, I want to acknowledge the many people of goodwill that I have had the pleasure of meeting or working with at the following institutions: Cleveland State University (CSU), the University of the Free State (UFS), the University of the District of Columbia (UDC), Macau Millennium College (MMC), Obafemi Awolowo University (OAU), Montgomery College (MC), the National Museum of African American History and Culture (NMAAHC), the University of Rouen in France, Peking Opera performers in China, and musicians at Ned Kelly’s Last Stand, a jazz club in Hong Kong. --RNW

Spring 2019 – Jazz Appreciation Month Issue 10

CALL FOR SUBMISSIONS

Jazz, Jobs, and Justice: From the American South to South Africa and Beyond, c. 1960-Present for

The Journal of Traditions & Beliefs 2019-2020 Issue Regennia N. Williams, PhD, Editor-in-Chief In the 20th century, the late Grover Sales defined jazz as “America’s classical music.” Sales also understood, however, that the composers, performers, and consumers of this American-born music could be found throughout the global community, including the American South and Post-Apartheid South Africa.

The list of artists with ties to the American South, for example, includes Milt Hinton, Hank Jones, and Lester Young. Among the South African artists who gained a worldwide following among fans of jazz are Abdullah Ibrahim, Miriam Makeba, and Hugh Masekela. Evidence from 20th-century cultural history suggests that in the hands of many of the aforementioned musicians and their contemporaries, art became a powerful tool to both challenge injustice and transform existing social orders.

In recognition of the international influences of jazz and in commemoration of the 400th anniversary of the August 1619 arrival of the first Africans in the English colonies, the RASHAD Center, Inc. will publish a special issue of The Journal of Traditions & Beliefs (JTB) titled Jazz, Jobs, and Justice: From the American South to South Africa and Beyond, c. 1960-Present. JTB welcomes publishable manuscripts that reflect the diverse viewpoints of scholars, artists, and activists on the evolving role of jazz in world culture.

This publication will be in direct keeping with the spirit of the “400 Years of African American History Act,” which “established a 15-member commission whose purpose includes the planning, development, and implementation of “programs and activities throughout the United States that recognize and highlight the resilience and cultural contributions of Africans and African Americans.”

JTB is a peer-reviewed open access journal. We publish scholarly articles, essays, creative writing, book reviews, and K-12 curriculum materials. Manuscripts for articles and essays should be typewritten, single-spaced, no more than 15 pages in length (including Turabian-style footnotes and bibliography), and prepared using A Manual for Writers of Research Papers, Theses, and Dissertations (University of Chicago Press, 8th Edition). Poems, book reviews, and the introductions to lesson plans should not exceed 750 words.

For consideration, please submit all manuscripts by November 1, 2019 via the journal’s official website, http://engagedscholarship.csuohio.edu/jtb/. The creation of a password protected account required).

Authors will be notified of final decisions by December 15, 2019.

If you are interested in writing a book review or have other questions or concerns, please see the “Policies” section of the JTB website, and contact Dr. Regennia N. Williams at regennia@gmail.com or r.williams@csuohio.edu.

Buy books by Dr. Regennia N. Williams, and suppo

Spring 2019 – Jazz Appreciation Month Issue arts and humanities scholarship and programming 11 Dear Friends, Please know that when you buy and/or read works

by Dr. Regennia N. Williams and the RASHAD Center, Inc., you support research, scholarship, teaching, and programming activities in the arts and humanities.

Did you know that more than 18,000 readers in 151 countries have downloaded free scholarly articles from RASHAD’s Journal of Traditions & Beliefs (JTB)?

Please see the map below for information on JTB’s readership, and visit Dr. Williams’ e-portfolio site at: https://sites.google.com/view/regennianwilliamsphd/home for information on other projects and publications.

Thank you for your support!

--RNW

Portrait by Nathaniel Rhodes; Collage by S. Lynn Nelson.

For more information, please visit Dr. Williams’ e-portfolio site at: https://sites.google.com/view/regennianwilliamsphd/home.

Thank You!

Spring 2019 – Jazz Appreciation Month Issue 12

*Sankofa

(Left) Regennia N. Williams performs with the Black Aspirations Week Gospel Choir, Cleveland State University, 1984.

(Right) The leadership team for the Spiritual Gifts Ensemble in Vienna, Austria, 2015. *The “Sankofa” image shown on page five and above is licensed under the Creative Commons Attribution 2.0 Generic license. For more information, please visit https://commons.wikimedia.org/wiki/File:Sankofa.jpg#filelinks.

The RASHAD Center, Inc. c/o Maryland Resident Agent LLC 5000 Thayer Center Suite C Oakland, MD 21550 Regennia N. Williams, PhD, Founder and Director Email: regennia@gmail.com Blog: https://rashadcenter.wordpress.com/

The next major stop for the “My Story, My Song, My Sources” project –outside of my hometown of Cleveland, Ohio— will be the University of the Free State in South Africa, where I will spend the summer of 2019 teaching an Oral History Seminar as a Fulbright Specialist. I would love to visit your community and hear your story when I return, so let’s keep in touch!

--Regennia